KRIMI VS. GIALLO [NOTES ON: Setting Some Terms re: Genre and Sub-genre]

[Note: This is a new series that I'll use to compile notes toward larger themes/ideas/arguments concerning the relationship of the Krimi to the Giallo. As with every post on this site, SPOILERS SHOULD BE EXPECTED.]

As I mentioned a couple posts ago, I've been going back and updating the Giallo and Krimi reviews on the site to add ratings, sub-categories, additional cast & crew info, etc. For the Giallo genre, I've identified 14 sub-genres so far. Sub-genres that help me categorize, think about, analyze, enjoy each, next Giallo as I watch it. They reside on the Giallo Master List page, but I'm going to reproduce them here as well, for reference sake. Additionally, I've begun to work out Krimi sub-genres that I think are key to better understanding the different forms the movies can take. I'm reproducing that here too, in lieu of the Krimi Master List page, which isn't yet live. Updates as they occur:

[GIALLO SUB-GENRES]

As I've watched more Gialli, and grappled with the question of which films are, and which films aren't, I've found myself organizing what I've seen into sub-categories. These sub-categories include:

• Proto- and Post-Gialli: Films who were a great influence on—or, conversely, *were* greatly influenced by—the Giallo boom. The "Post-" part of the category does not include Neo-Gialli proper (i.e., films that are expressly working in, and referring to, a recognized Giallo tradition), but films that occur chronologically after the boom, often outside of Italy. Think, for instance, Brian De Palma's DRESSED TO KILL. Or Donald Cammell's WHITE OF THE EYE.
• Neo-Gialli: Gialli produced post 1999.
• Krimi/Gialli Hybrids: Krimi movies that prefigure and/or display various conventions of the full-blown Giallo.
  
• Sleaze-Art-Sleaze Gialli: Gialli that deliberately push the envelope in terms of explicit sexploitation or gore elements elements (currently I'm doing a series of reviews on them, including SO SWEET, SO DEAD and AMUCK!). Aka, Exploitation Gialli.
  
• Inheritance Gialli: Gialli that skew toward the Krimi/Giallo plotting that is more concerned with rational motives (simple greed) than the psychotic, trauma motive of post-Argento Gialli.
  
• "And Then There Were None" Gialli: Gialli based on Agathe Christie's novel of the same name.
  
• Offshore Gialli: Gialli that take place largely at sea/on an island.
  
• Wetsuit Gialli: Gialli that feature wetsuited killers.
  
• Psychosexual Outlier Gialli: Non-traditional Gialli that focus less on the key iconography and plot mechanics of the "typical" Giallo (no black-gloved killer; no high body count; maybe no murder at all) and instead explore interior and psychosexual concerns (often related to the notion of the "hysterical woman").
  
• Country Gialli: Gialli that locate their action largely out of the modern urban setting that is the norm.
  
• Giallo/Gothic Hybrids: Gialli that are equal parts Euro-Gothic and Giallo.
  
• Giallo/Eurocrime Hybrids: Gialli that are equal parts Eurocrime and Giallo.
  
• Gialli Featuring Clergy: Self-explanatory; the clergy may or may not be the killers.
• Meta-Gialli: A Giallo whose sense of (critique of, comment on, invocation of, radical reworking of) the conventions of the genre are as integral to the film as any other element. Aka, Experimental Giallo. Sometimes qualifies as an Existential Giallo.
• Foundational Gialli: A Giallo that in some way, shape, or form did foundational work in establishing conventions that would later dominate the genre. 

[KRIMI SUB-GENRES]

• Ingénue in Distress Krimi: Krimis that center around the menacing of an ingénue character, most often because of a scheme to steal that character's inheritance. Karin Dor, Marianne Koch, Uschi Glas were three of the key actresses to portray this role. Key examples: THE SINISTER MONK, THE HUNCHBACK OF SOHO, and ANGELS OF TERROR (aka, THE CORPSE IN THE THAMES) are three examples.
• Inheritance Scheme Krimis: See above.
• Masked Monk Krimis: The main villain is a masked monk of some sort; key examples include THE SINISTER MONK and THE BLACK ABBOT. 
• Heist / Master Criminal Krimis: Often involves masked, larger-than-life villains who use outre gadgets to dispatch their enemies and/or overly complicated plans to pull off an impossible heist. Two specters are always in the background of this version of the master villain: Dr. Mabuse and (in a strange form of coincidence) Harry Lime. Conversely, this category can also represent the "gangland violence" strain of Wallace's work. DER HEXER, THE INN ON THE RIVER, FACE OF THE FROG, THE RED CIRCLE, THE TERRIBLE PEOPLE, and CIRCUS OF FEAR are chief examples.
• Boarding School Krimis: Both this sub-genre and the next are closely tied to the
  Ingénue in Distress Krimi. Usually involves a sub-plot that includes a white-slaving ring. The Dance Troop Krimi is a variation on the same idea. Examples include THE SINISTER MONK, SCHOOL OF FEAR, and THE HUNCHBACK OF SOHO.
• Dance Troop Krimis: See above. An example would be THE MAN WITH THE GLASS EYE or ANGELS OF TERROR (aka, THE CORPSE IN THE THAMES).
• Proto-Giallo Krimis: Incredibly prescient, forward-looking examples that help lay the groundwork for the conventions that would come to dominate the Italian Giallo genre. Two of the best examples are THE PHANTOM OF SOHO and THE MONSTER OF LONDON CITY.
• Arent-as-Villain / Arent-as-Human-Being: A variation on Arent's comedian personality that either adds nuance enough to make him seem like more than a pratfalling cartoon, or that uses that cartoon mask as a way to hide the fact that he's the film's villain. I reviewed a series of these, under the "An Arent Villain" tag.
• Arent-as-Comedy-Routine: Eddi Arent's default character.
• Kinski-as-Grotesque: Klaus Kinski's default character.
• "And Then There Were None" Krimis: Based on the Agathe Christie plot. A good example being THE INDIAN SCARF.